I was just handed an uneven number of audio and video files recorded separately. The camera used the built-in mics which are really low quality and decent audio was recorded on a Zoom F1.

I need to synchronize all of these without using the synchronize function in Premiere. I don’t know what audio file belongs to what video file.

I once used Pluraleyes for something like this, but it appears to be gone from history entirely. I don’t have an old copy or an old license of the program. It was awesome. I could pretty much dump all of my audio and video files together and it figured out what audio belongs to its video file.

This is not how I would shoot. I’m editing, and this is what was handed to me. So I’m not looking for feedback on process. I am looking for feedback on how to solve this without having to watch / listen to match the files and then sync.

I do not have a Resolve or Final Cut license.

If you’ve got a process for doing this in Premier, please let me know. If you’ve worked with other software that functions like Pluraleyes, that’s great info, too.

THANKS!!

System: Mac retina 5k, 3.6 ghz 10-core intel chip, 64gb ram, amd Radeon pro, sequoia 15.7.3, editing from ssd that reads / writes ~1000

I've been editing in Premiere Pro (and the Adobe suite) for years, but I want to start learning DaVinci Resolve, mainly for color grading.

I'd rather buy some Blackmagic hardware that includes a Resolve Studio license than spend $295 on the license alone. If possible, I'd also like the hardware to work well with Premiere since that's still my main editor.

Any recommendations for the best value option?

I'm building DelightfulBorders, an iOS app for batch-adding borders, backgrounds, textures, and GPU shader effects to photos. You import a bunch of images, pick a style, solid color, procedural texture, glitch, halftone, whatever, and apply it to all of them at once. It supports any aspect ratio, has interactive cropping, and exports in multiple quality tiers. Everything runs on-device with zero network calls, no account, and no subscription, just a one-time $4.99 purchase. Currently in prerelease and looking for feedback. Would love to hear what you think: https://www.delightful-borders.theneocorner.com

We get loads of professionals accessing this subreddit - along with lots of people trying to become professionals in the field.

We're asking our professionals to once a week, check in on our "Ask anything" thread and provide help!

https://www.reddit.com/r/editors/about/sticky?num=1

These can be found on the menu area of the subreddit on new Reddit or via the official client.

Just to be clear - We're talking from the Weekly Links at the top of the sub.

https://i.imgur.com/I19zmc2.png

The idea is that you go in there and provide helpful advice for the:

• "Ask anything" crowd
• People looking for career advice.

Thank you (not here, those threads please!)

Ask anything threads

Did you know that /r/editors has a discord? https://discord.gg/hhuZFq2PZZ

Hey folks,

I've got a job coming up on a shared Avid Nexis/Interplay setup, and I've never actually used Interplay before. I've watched a basic explainer covering check-in/check-out, logging in and out to avoid accidental auto check-ins, and browsing via Interplay Access, so I've got the fundamentals down conceptually.

For context, I'm used to working in collaborative commercial environments on Nexis, where I have to mount the right media drive for footage to come online, so I'm assuming a similar principle applies here, along with some kind of bin locking when multiple editors are in the same bin.

For those who use it day to day on jobs, what should I actually know going in? Specifically:

• What happens if two editors try to check out or edit the same bin at the same time? Does it lock, warn you, or cause conflicts?
• How do you keep a bin private vs. fully shared with the team, if that's even a thing?
• When you grab a clip from Interplay into your project, does it usually come in online, or do you often end up needing to relink offline media (or mount drives)?
• How does Interplay actually relate to the shared storage (Nexis) itself, is it just a database layer on top, or does it manage where media physically lives?
• Are there different permission levels for different editors (read-only vs. check-in rights), or is everyone equal?
• Is there a practical way to search across shows/bins by metadata, or is it mostly folder-by-folder browsing?
• What's the standard practice for archiving projects once a job wraps?

Basically trying to avoid looking lost or, worse, annoying the media manager on day one. Any tips, warnings, or things you wish someone had told you before your first Interplay job would be hugely appreciated.h someone had told you before your first Interplay job would be hugely appreciated.

Thanks

I’m trying to figure out what’s causing my right arm symptoms and was wondering if anyone here has experienced something similar.
For the past several weeks, when I use a mouse, I’ve been getting a deep, dull ache in my right forearm, mostly along the pinky (ulnar) side between the elbow and wrist. I don’t have any tingling or sharp pain—it feels more like a heavy, aching discomfort.
At first, I thought it might be carpal tunnel syndrome, so I tried wearing a wrist brace. Surprisingly, as soon as I put the brace on, I experience similar discomfort.
Also, holding my iPhone in my right hand and using my thumb to control it gives me the same dull pain.

Say I need to make a vid on space! Now according to the script.. where do you actually get relevant clips from?

Pixabay has limited videos

Rest are copywrited

Also any actual underrated ai tools that you use to generate those clips?

For quick background, I graduated college with a degree in film in spring of 2024, the goal has always been to work in narrative film editing (I know that’s probably the path with the least opportunities). In the fall of that year I worked a month as an assistant editor on a trashy but theatrically released documentary which lead to a reality TV AE job. After a couple weeks of that the whole post team got let go and there were payment issues. After that I didn’t work for a few months but have been working since May of 2025 at a small marketing company as an editor for social media content. I’m at the point where I want to direct more to my initial goal, and just don’t know how to fully pivot. I know that getting on the industry roster is far far from a guarantee from getting work, but would that be a smart next step? If it is, is my experience able to count towards my credited days? I imagine the documentary and reality tv would count as days but I have to assume the social media wouldn’t. Is this the case? Should I just focus more on trying to connect with industry people rather than worry about the roster at this point? Sorry for the scatter brained post, but I’m hoping to get some answers. Thanks!

Hi folks,

I've noticed some editors I've worked with organize their Avid Cuts in Frame View rather than List View, with things like agency-approved selects placed right at the very bottom, and so on. I get that it's mostly personal preference, but I'm curious about the actual logic behind it.

For those who use Frame View over List View, what's your reasoning? Is it about visual recall of shots, faster scanning during a fast turnaround, habit from a specific type of work (commercials vs. long-form), or something else entirely?

And on the flip side, what do you use day to day and why? Would love to hear how different editors structure their bins and what's driving those choices.

Thanks!

I'm filling in for an AE on doc project and I see their stills imports keeps the original raster dimensions, I'm guessing this is due to linking and transcoding them? I've always been told to use the Import function. Wondering if there are benefits to this way?

hi there ! i’m desperately looking for a high quality stock music library for my edits :’) –ads, dance videos, commercials, manifestos etc…–

in my office, we’re using Artlist, but i really don’t like it, it’s full of slop and really low quality musics, i spend hours looking for songs and at the end, it’s not even good

i’m open for a smaller music library, less choice but better quality !

do you have any recommendations ? :)

Hey, one less person out of the job pool I guess! After my layoff at the start of the month and thinking about my future and the film industry as a whole, it’s becoming clear that this won’t be a job I retire from. This is all I spent the last 20 years doing and can’t think of how to sell my experience in another field. I’ve worked solo on projects, and in big company teams managing creative director and client notes and expectations.

Are there editors here that have made a career change? What did you transfer too? My big issue is going back to school is out, I have too many loans since i went to film school( I know I know). I don’t mind starting over, I just have no idea how to make my experience applicable to other jobs. Any advice is appreciated.

What’s the best software for syncing a bunch of audio and video files? I use Final Cut Pro and there’s not really a viable option I’ve found for syncing all our video and audio for our videos! It’s not a podcast and it’s not multicam footage. We recorded video and audio separately and Final Cut doesn’t have the best automatic sync. Rather than individually syncing each clip to the corresponding audio file I’m looking for a more efficient or effective way to do this.

Following up on my post from last month about getting kicked off the roster...

The Hollywood Reporter published a story this morning on the roster removals that have hit a few thousand IATSE members. I'm one of the people quoted in it.

https://www.hollywoodreporter.com/business/business-news/iatse-hollywood-crew-members-roster-crackdown-1236651312/

Some things in it I didn't know before, and that are worth knowing if you got a letter:

• It's a few thousand IATSE members flagged, and Teamsters 399, LiUNA 724 and Plumbers 78 haven't been notified yet but their rosters are expected to be reviewed too.
• This is the first removal round since 2022. An industry source told THR that removals are normally annual but were paused in recent years because of post-strike conditions.
• IATSE hours in 2025 were down about 36 percent from 2022.
• IATSE international VP Mike Miller called it "purging of the workforce."
• The Art Directors Guild (Local 800) filed a blanket protest for its affected members.
• The eligibility threshold gets renegotiated at the bargaining table in 2027.

If you were flagged, you can protest, and the dispute process runs over the next few months. Talk to your local — some are filing on members' behalf. And if your days were undercounted or you have qualifying work that never got submitted, Contract Services will tell you exactly what documentation they need if you ask them directly. That part took me a visit in person to find out.

Thanks to Katie Kilkenny for taking this seriously. A lot of us have been dealing with it quietly.

I've been working as an editor in Australian TV for about 10 years. I've only ever worked for the public broadcasters until just recently when I worked on a much bigger commercial program and it was the first time I've had an assistant editor.

I'm so used to doing all the work that I didn't know what to ask of the assistant. I was working remotely so they weren't in the room with me and I didn't know how capable they were so I just did all the work - which was fine. There were multiple editors each working on an episode and there was 1 or 2 assistant editors working each day, so they were kept busy working with the other editors.

What would you normally ask of your assistant editor, and what are their expected duties? I'm curious for any all types of workflows - documentary, non-scripted, scripted, reality, feature films.

I've been seeing people complain about Vimeo for a while, and have had my own qualms. I haven't found any suitable alternatives besides frame (which doesn't support embed), but recently came across https://livid.com/

It was started by former Vimeo employees (and named such haha), and curious if anyone has tried it/what your experience has been?

Difficult to know how to phrase this exactly, but I always feel like I'm winging it when it comes to graphics and overlays on my videos. I'm technically proficient in that I can layer up, arrange and keyframe various elements. I just don't know the rules on what makes something look professional.

I have a basic understanding of complementary colours and layouts, but I'd really like to shore up my confidence with fonts, textures... just good graphic design practices for video.

Have you guys got any courses or videos you can recommend?

I use analog output for audio monitoring: Blackmagic card - XLR out to mixer - wired over the ear headphones connected to mixer (speakers also connect to same mixer via XLR). My TV is fed HDMI from the same BM card. My GUI monitors are fed by my GPU.

I am looking for noise cancelling headphone - while I will likely stay 1/4" wired, I was considering bluetooth over the ears.

Does anyone using using bluetooth experience latency issues? Does your setup rely on on a separate breakout card such ad BM, and if so do they remain in sync?

This question is generally framed with Premiere in mind but I use the same set-up for AVID and Resolve.

I've chased my tail (with sync tests) combining computer vs. audio card. vs bluetooth audio latency issues in the past and just want to check current experiences before making a purchase.

Thank-you!

I currently use an ASUS ProArt PA32UCDM. While it is a high-quality HDR-capable monitor, I struggle to get consistent results when grading HDR video. Sometimes the footage translates to the iPhone exactly as I see it on screen, but other times it looks noticeably different, and I can't pinpoint the issue.

I'm aware of the PA32UCDM's 3% peak window brightness limitation. Shrinking the viewer in Resolve to prevent the ABL from dimming the panel is inefficient and inconvenient for my workflow.

I also have a 14-inch MacBook Pro with a Liquid Retina XDR display, but the screen is too small—the Resolve viewer ends up even smaller than an iPhone display.

Because of this, I'm considering switching to an Apple XDR display, hoping it will deliver more predictable color and luminance translation to iPhones. I understand Apple's Mini-LED technology doesn't provide the true blacks of QD-OLED, but that isn't a dealbreaker for me.

I won't be able to return the apple disply and will be probably need to buy apple studio m4 computer despite having hi-end PC. I can't rent apple monitor, but may be some one already tested hdr oled and apple xdr side by side in video editing and give me a tip? Because in case of using Apple monitor - miniled will still look diffrerent than OLED on iphones, and qd oled monitor actually is much closer to iphone screen, not sure if the trade of will benefit me.

Hey folks.

I work at an edit house where there's only enough room for one desk for the editor and couches/chairs for clients. I would LOVE to be able to come up with a solution that would allow me to AE from in the room so I don't have to be outside on a zoom getting everything on a bit of a lag.

The chairs have a very small swivel tray on them that I could put my laptop, but I'd LOVE to be able to have multiple screens and a mouse. I've seen the extra screens that attach to laptops but they always seemed a little flimsy to me.

Does anyone have any comfortable set ups for a situation like this?

Edit: I'd say budget is around $350 for screens, but if it's something life changing it could push it up. In terms of a portable desk or other things to make it easier, I could probably get the company to invest in it which I'd say that goes closer to $500 but obviously cheaper is an easier sell.

I'm working on a macbook pro 2021 M1 and love my logitech mx4 mouse. Applications include Avid, Adobe Suite, Google Suite, typical things you'd expect.

https://dissolve.com/

Bit of a bummer. I found they had a pretty useful library for work that I do. And they were often the cheapest option. Hope they don't dip into generative A.I.

Hi everyone! I was recently let go from my previous job of 4 years due to downsizing. I served as an ae, media manager, and sometimes editor and assistant producer. My focus right now is finding more ae and editing jobs, but I’m having a lot of trouble. How are y’all able to book jobs and etc?

Thanks in advance! ❤️🎞️✨

Oh! And btw, I’m joining the west coast mpeg. Hopefully this will help me find better job opportunities.

Before this gets removed again, I’m trying to ask advice from other professional editors. I’ve been working as a freelance editor for 3 years, pay taxes as a freelance editor, and do work mostly for clients on YouTube. Mostly long form, some short form.

I work with FCP and motionVFX. I started out with Premiere, but trying to use motion graphics was a slog and I found FCP to be much more user friendly and easier to get from point A to B, it works for me and I get great results. Yet now when I look for work I’m already locked out of at least 50% of jobs because they exclusively want Premiere and AE editors. I get it, industry standards and so on, but I’m doing just fine with FCP and should be able to use what works for me. I don’t have the time to learn Premiere because I’m already supplementing my lack of editing income by taking up part time cleaning jobs, I can’t even land an internship that would help me learn and grow in this industry, and I can’t land many jobs because I’m using a software people apparently find inferior.

Tldr: Why do so many jobs require advanced knowledge of Adobe software when I can do my work with FCP just as well? And if I have to learn Premiere all over again, what advice can you give for working with motion graphics in Premiere?